O Gamelan : [program]

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WELCOME TO THE SECOND CONCERT OF OUR 31st SEASON!

For this evening, Esprit shares the stage with Evergreen Club
Contemporary Gamelan, Toronto’s unique group of eight
musicians hailed as “one of the world's leading performers of
contemporary music for gamelan.”

In the works by Chan, Ristic and Harrison, their bronze and
wooden Indonesian instruments blend with Western ones in an
intermingling of global cultural sensibilities.

Pauk’s Echo Spirit Isle, originally composed for gamelan, takes
on new form as a piece for large orchestra.

O GAMELAN

The concert’s title evokes José Evangelista’s work, O Gamelan.
Evangelista, an expert in the music of Indonesia and other Asian
cultures, combines his compositional expertise with this special
knowledge in the concert’s touchstone.

Vivier’s Pulau Dewata lends itself to varied instrumentations with
Good’s arrangement of the piece perhaps being the first for full
orchestra.

Added attraction to this evening is the exceptional Balinese
dance artist Putu Evie Suyadnyani performing a traditional
dance. Evie is recognized as one of Bali's foremost dancers and
is involved in researching and preserving Bali's music and dance
traditions.

ESPRIT ORCHESTRA

Alex Pauk, Music Director and Conductor
Evergreen Club Contemporary Gamelan

Douglas Perry — viola

Flute
Douglas Stewart

Christine Little, piccolo

Maria Pelletier

Oboe

Lesley Young
Karen Rotenberg,
English horn
Jasper Hitchcock

Clarinet

Colleen Cook
Richard Thomson,
bass clarinet
Michele Verheul,
Eflat clarinet

Bassoon

Jerry Robinson
William Cannaway,
contrabassoon
Stephen Mosher

Horn

Christine Passmore
Diane Doig

Gary Pattison
Linda Bronicheski

Trumpet

Robert Venables
Anita McAlister
Michael Fedyshyn

Trombone

David Archer

David Pell, bass trombone
Herb Poole, bass
trombone

Tuba
Sasha Johnson

Piano
Stephen Clarke
Benjamin Smith, celeste

Harp
Erica Goodman

Percussion

Ryan Scott
Trevor Tureski
Blair Mackay
Graham Hargrove
Daniel Morphy

Violin |

Stephen Sitarski,
concertmaster
Sandra Baron
Corey Gemmell
Anne Armstrong
Sonia Vizante
Joanna Zabrowarna

Violin Il

Bethany Bergman
Hiroko Kagawa
Louise Pauls
Michael Sproule
Janet Horne
Marianne Urke

Viola

Rhyll Peel

Nicholaos Papadakis
Katherine Rapoport
Ivan Ivanovich

Cello

Paul Widner
Marianne Pack
Olga Laktionova
Elaine Thompson

Bass
Tom Hazlitt
Hans Preuss

O GAMELAN

Esprit Orchestra
Alex Pauk, Music Director and Conductor
Sunday November 17", 2013 | Koerner Hall

7:15 pm Pre-Concert Talk
Composers Alexina Louie, José Evangelista, Chan Ka Nin,
Alex Pauk and Scott Good

8:00 pm Concert

PROGRAMME

Alex Pauk Echo Spirit Isle (1983)
Chan Ka Nin Eveil aux oiseaux (2005)

for gamelan and ensemble

Legong Condong (traditional Balinese dance)
Putu Evie Suyadnyani — dancer

Jose Evangelista O Gamelar® (2013)
INTERMISSION
Lou Harrison Threnody for Carlos Chavez

for viola and gamelan (1978)
Douglas Perry — viola

André Ristic Project «Peuple» (2005) for gamelan and ensemble
Claude Vivier Pulau Dewata (1977)

Arranged for orchestra by Scott Good

* Esprit Commission and World Premiere
Tonight’s presentation of José Evangelista’s O Gamelan is made possible
through a generous commission support by Chantal Perrot. |

Evie Suyadnyani is World Music Visitor at the University of Toronto Faculty of Music.

ALEX PAUK

Music Director, Conductor and Composer

Alex Pauk, composer, conductor and educator, revitalized orchestral life
for composers across Canada in 1983 by founding Esprit Orchestra as
Canada’s only orchestra devoted to new music. Esprit, with a core of 70
top instrumentalists, Canada’s best soloists, and an annual subscription
series in Toronto, encourages composers to take bold new directions.
Through building and sustaining Esprit’s high calibre performances,
commissioning programme, innovative programming (80% Canadian),
recordings, performing arts videos and DVDs, outreach projects, tours,
and interdisciplinary arts and media ventures, Pauk has been a leader in
developing and promoting Canadian music at home and abroad.

As a conductor he attains excellent performances on stage and in
recordings. His innovative programming and commitment to the
community through Esprit have garnered SOCAN and Chalmers Awards
as well as three Lieutenant Governor’s Arts Awards. He was named
Musician of the Year (1999) by peers at the Toronto Musicians’
Association, was a recipient of Canada Council for the Arts Molson Prize
(2007) and has helped many composers advance their careers through
commissions, high profile performances, recordings and broadcasts.
Pauk’s commissioning, of Canadian composers of all ages and stylistic
trends, is central to his work. He has been a leader in taking new music
out of the concert hall and to people in their communities. Under Pauk’s
direction, Esprit was awarded the 2005 Vida Peene Award for excellent
standards of performance and innovative programming.

Alex Pauk has a very wide range of experience as a composer with
works for every kind of performing ensemble, the theatre as well as
dance companies. Revealing this depth of experience, his most notable
compositions include Touch Piece, a multimedia work for full orchestra,
16 channel surround sound with digital sound track, sounds of nature
and altered orchestral sound projected from loudspeakers, multi-screen
video environment and fabric sculptures with special theatrical lighting;
Farewell to Heaven, a full length work for the Menaka Thakkar Indian
Dance Company; three works involving important Canadian virtuosos:
Concerto for Harp and Orchestra, Concerto for Two Pianos and
Orchestra and Flute Quintet.

His newest work, Musiques immergées, for chamber orchestra and audio
playback, received its world premiere in Montréal with the SMCQ in
2011.

EVERGREEN CLUB CONTEMPORARY GAMELAN

Evergreen Club is an ensemble of eight highly skilled Canadian
musicians who perform and record using an assortment of bronze and
wooden instruments from Indonesia. Collectively these instruments are
known as a gamelan — a traditional instrument ensemble that plays an
important role in the Indonesian culture.

Formed in 1983 and based in Toronto, Evergreen Club is a unique
performing ensemble dedicated to the development and expansion of its
repertoire through the commissioning of new works from Canadian and
International composers, and interpreting traditional and contemporary
Indonesian pieces. The contemporary works written for Evergreen Club
highlight both gamelan and gamelan-plus - extended to include guest
soloists, guest ensembles, solo and ensemble dance, or auxiliary media
(live accompaniment to film, works for tape). The resulting repertoire
reflects an intermingling of cultural sensibilities within a global
perspective.

Evergreen Club's numerous concert appearances have delighted
audiences within Canada, the United States, Western Europe, Japan
and Indonesia. From 1998 to 2000, Evergreen Club toured with the
World music ensemble "Heartbeat" founded by John Wyre of Nexus. In
1999 and 2005 Evergreen Club was a featured artist at the Festival
Presence in Paris, France. In performance and on CD recordings,
Evergreen Club has presented world premieres for gamelan and
gamelan-plus by leading composers such as John Cage, James
Tenney, Gilles Tremblay, Walter Boudreau, Lou Harrison, Jon

Siddall, John Wyre among many others.

MEMBERS:

Blair Mackay, Artistic Director
Ryan Scott

Mark Duggan

Bill Parsons

Paul Houle

Andrew Timar

Adam Cambpell

Rick Sacks

DOUGLAS PERRY

Viola

Formerly Artistic Administrator for the Kitchener Waterloo Symphony,
Douglas was Artistic Director of Arraymusic as well as a founding
member of Tafelmusik Baroque Orchestra with whom he performed and
recorded for over 10 years. He has been Principal Viola of the Santa Fe
Opera, the Kitchener Waterloo Symphony and the Canadian Opera
Company and has numerous recordings on various labels, including J.S.
Bach's Brandenburg Concerto #6 with the C.B.C. Vancouver Orchestra.

Tours have taken him to Japan, Malaysia, Singapore, Italy, Germany and
the United States, as well as a tour of China in 2013 with Soundstreams
Canada.

He produced a jazz CD with Juno Award winners Dave Young, Phil
Dwyer and Michel Lambert and his recording of Harry Somers' String
Quartets with ACCORDES was nominated for a Juno Award.

He has served on the Board of Directors of Harbourfront Centre and the
Toronto Arts Council, is a Past President of the Recording Musicians’
Association — Canada.

PUTU EVIE SUYADNYANI

Balinese dancer/instructor

Putu Evie Suyadnyani was born in Sanur into a family of dancers. She
has danced since she was three years old and made her first
choreography when she was still at kindergarten. A key member of the
Tanjung Sari Hotel foundation for the preservation of legong dance, she
was trained under the late Ni Reneng of Kedaton and |.G.A. Susilawati
and was awarded the first prize for the island-wide Legong Condong
competition at age 10.

Evie has extensive experience teaching and has also danced and played
gamelan overseas. She also taught and performed for the Indonesian
Embassy in Wellington for around two years.

In 2002, she founded the dance side of Mekar Bhuana, a conservatory
established by her husband New Zealander Vaughan Hatch to preserve
rare and endangered Balinese classical gamelan. Since then, she has

taught local children the difficult movements of the legong court dances
and also sent a number of musical ensembles overseas to perform in
international festivals. In 2010, Evie and Vaughan set up the world’s first
online store that specialises in quality Balinese music and dance
products. This store helps to fund Mekar Bhuana’s documentation and
reconstruction projects.

This year, Evie and Vaughan were chosen to represent Mekar Bhuana
as World Music Artists in Residence at the University of Toronto, where
they continue to spread rare Balinese court music and dance across the
globe.

Asides from teaching and performing Balinese dance and gamelan, Evie
also likes to fill her spare time to sing traditional Balinese vocal as well as
sing pop, rock or jazz cover song for band or duo.

Legong Condong
Balinese dance

This dance was created in the early 20" century as an introduction to a
legong dance for the pleasure of Balinese royal families. If it is part of
Legong Lasem, the whole dance is called Legong Keraton. Legong
Condong is a fast and lively dance that is one of the most difficult of all
Balinese female dances. It tells the story of a capricious, young court
servant and her daily activities in the palace. Mekar Bhuana
Conservatory performs the musical accompaniment on an antique
Semara Patangian gamelan orchestra that is normally played by around
30 musicians. This is how it would have been presented in Balinese
palaces around 100 years ago.

STEPHEN SITARSKI

Concertmaster

An Oakville native, Stephen Sitarski enjoys an incredibly varied career as
a violinist and musician. Acclaimed nationally in performances of
Baroque music through to contemporary and jazz, he is also a
recognized conductor, adjudicator, teacher and music administrator.
Currently Concertmaster of the Kitchener-Waterloo Symphony, he has
also led many other Canadian orchestras including the Vancouver
Symphony and Ottawa’s National Arts Centre Orchestra, as well as
orchestras in the United States and Europe.

He frequently appears as soloist with orchestra and, along with much of
the standard repertoire, performs concertos written especially for him by
Canadian composers. In April, 2009, as part of the Open Ears Festival,
Stephen performed R. Murray Schafer’s violin concerto “The Darkly
Splendid Earth: The Lonely Traveller’. In March, 2011, he was guest
concertmaster and featured soloist for the National Ballet Orchestra's
programs Eugene Onegin and Russian Seasons.

He is 1st Violin of the Canadian Chamber Ensemble, a founding member
of Trio Laurier, and is a regular participant in diverse chamber groups
and festival events both nationally and internationally with many of
Canada’s finest musicians. He is also a frequent performer with
Toronto's acclaimed Art of Time ensemble as well as Soundstreams.

Routinely heard throughout Canada on disc and on live radio broadcasts,
vitarski has also performed countless television and film scores,
including the violin solos in the Hollywood film “Being Julia’. A dedicated
educator, Stephen is a faculty member of the National Youth Orchestra
of Canada, Wilfrid Laurier University and Glenn Gould School.
In recognition of his outstanding artistic contribution to the Kitchener-
Waterloo community, he is a recipient of the Kitchener-Waterloo Arts
Award for Music.

ALEX PAUK

Echo Spirit Isle (1983)
There are two events which
stimulated and then
influenced the writing of Echo
Spirit Isle. First of all, | made
an in-depth study of
Javanese gamelan music
and had become fascinated
by the vitality and richness of
the genre. Secondly, | had
finished reading Lyall Watson’s
book Gifts of Unknown Things,
dealing with supernatural and
exotic phenomena of an
imaginary, isolated island in the
Indonesian archipelago. The
musical materials of the present
work are based entirely on altered
Javanese scales, specifically the
“Pelog” and “Slendro” scales
which form the basis of gamelan
music. Furthermore, the device of
rhythmically repeated notes is
carried over from the gamelan.
The piece is not intended as an
imitation of the gamelan, but
rather is designed to transform the
essential qualities of that music
into an orchestral experience with
its own unique frame of
references.

SALON AWNVYD0dd

— Alex Pauk

CHAN KA NIN

Eveil aux Oiseaux (2005)

This work is written for 11 western
instruments and 9 Gamelan
instruments. The sound worlds of
East and West are pitched against
each other at the beginning and
later combined to a uniquely
transformed sound. This signifies
the “awaking of the birds”, a
childhood experience the
composer had when he was

growing up in Hong Kong. He
remembered that every morning
he was weakened by hundreds of
Sparrows dwelling in a big mango
tree next to his home. In Eveil aux
Oiseaux, he tries to recapture this
ecstatic moment and philosophize
its symbolic meaning. As one
grows older, one may have
overlooked that there are many
things one can sing about in the
morning — very much like the
Sparrows at dawn. In this work,
the western instruments tend to
glorify the sounds and images of
the birds while the oriental
instruments tend to carry a
message, that of awakening,
serenity, and eternity.

This work was commissioned by
the Toronto Arts Council for the
Ensemble Contemporain de
Montréal and The Evergreen Club
Contemporary Gamelan in 2005.

— Chan Ka Nin

JOSE EVANGELISTA

O Gamelan (2013)

Gamelan comes from Javanese
gamel, hammer. It designs a
variety of Indonesian ensembles
where tuned percussion
instruments predominate. The
gamelans of Java and Bali are the
best known and probably the most
sophisticated. Traditionally,
Javanese music is slow and
meditative, Balinese music is
noisy and strongly rhythmic.

Since | became acquainted with
gamelan music | thought of it as
an ideal in music: the textures are
refined and complex still the music
is often direct and catchy. For

many years | have tried to get
closer to this model. Sometimes
influenced by abstract
composition techniques
(Motionless Move, Clos de vie) or
directly from some specific music
traditions (O Bali, O Java).

| have also composed for a mix of
Balinese gamelan and western
instruments, like Kebyar Concerto
for Ondes Martenot and gamelan
gong kebyar and Bali Symphony
for gamelan gong kebyar and
western symphony orchestra.

Still, the gamelan remains a goal
that I'll never attain. Once again, |
give it a try with this new piece. In
it | have taken further liberties on
my gamelan interpretation.

This piece is clearly divided into
sections. After a short
introduction, the first section
evokes the tranquility of Javanese
gamelan. Follows a strong and
square rhythmic passage leading
to a contrasting slow section
dominated by strong and
percussive chords. After a more
abstract approach the piece ends
with a typical Balinese ostinato.

On the technical side, the listener
may notice that all sections of the
piece are based on the same free
and cantabile melody which
sometimes reminds of Indonesian
modes but which is always
dominated by a 12-tone content.

LOU HARRISON

Threnody for Carlos Chavez for
viola and gamelan (1978)
Harrison began composing for
traditional Javanese and

Sundanese gamelan instruments
in 1976, soon using the gamelan
as a backup orchestra for Western
solo instruments. Among the
earliest pieces to call for this type
of cross-cultural mixture was the
1978 Threnody for Carlos

Chavez for viola and Sundanese
gamelan. Harrison's gamelan
compositions always bear a
personal stamp. In this case, he
applied a metric system
characteristic of medieval Western
music to a Javanese form, the
ketawang. Traditional gamelan
music is always in duple meter,
characteristically featuring several
layers with various degrees of
elaboration over a basic melody.
In the Threnody for Carlos
Chavez, however, Harrison drew
on his knowledge of Western
medieval music to explore multiple
layers of triple meter.

ANDRE RISTIC

Projet «Peuple» (2005)

This piece is one of the few
compositions of mine that include
the word 'project' in the title. | use
that term because these pieces
are experimental in nature, and
they share a general form or
structure that | call ‘project
description’. More clearly, these
pieces are blueprints for
something else (Projet d'opéra
was a violin concerto describing
the plot of a non-existing opera).
In this case, the project is to
describe very basic social
behaviors that in my imagination
could lead to the creation of what
we call a society. Two groups of
individuals (the gamelan

percussions and winds) are trying
to find a 'meeting point’ through
the inspiration provided by a
‘leader' (the double bass). They
succeed, and the leader goes
despotic.

In the beginning of the piece, the
instrument groups are isolated
and seem to be unable to find a
compromise to play together. The
leader plays only single notes, but
their disposition generates a
‘rhythm’ on a larger scale,
overlapping the bars, and this
pulsation very slowly leads the
winds and percussion towards a
place where they kind of don't
have the choice not to play
together.

This happens towards the middle
of the piece, and is followed by a
few ‘discussions’ involving both
groups, and the soloist. At the
end, everyone seems to have
found his/her place, and the
‘leader’ goes into a cadenza
mood, a jubilatory, egotistic,
triumphant spill of hundreds of
16th notes.

The piece was composed at the
time when the last remaining parts
of ex- Yugoslavia (Montenegro,
then Kosovo) were quitting the
federal system one after the other.
| was not trying to reflect on
modern-day nation-building
processes, though. | just felt the
interaction between a leader (with
good or bad intentions), and two
social groups (influenced by the
leader), would provide a perfect
setting for exploring a musical
format derived from the concerto.

| was helped also by some facts
like the improbability of the double
bass as a virtuoso soloist, and the
cultural gap between gamelan
orchestra and modern occidental
brass and winds.

— André Ristic

CLAUDE VIVIER

Pulau Dewata (1977)

arr. for orchestra by Scott Good
A stay in Bali in 1976 marked a
turning point in Claude Vivier’s
career. Most of the subsequent
works were to show the influence
of the atmosphere of this Pacific
island, whose inhabitants call it
the “Island of the Gods,” or "Pulau
Dewata". This is the title given by
Vivier to a work specially
dedicated to the people of Bali.
The composer describes it as
follows: “This piece is a
succession of nine melodies of 1,
2,3, 4, 5, 6, 7, 8 and 9 sounds.
These modes may be directly
reminiscent of Bali, but what |
wanted to write was a piece
imbued with the spirit of Bali: its
dances, its rhythms and, above
all, an explosion of life, simple and
candid. The ending is the
traditional signature of many
Balinese pieces, a loving homage
to this marvelous people from
whom | learned so much.”

The score of Pulau Dewata is
dedicated to the McGill
Percussion Ensemble. It does not
specify instrumentation, permitting
any combination of instruments
that suits the scoring.

— Claude Vivier

YOUR BRAND:
CONCEPT, CREATION, AND BEYOND

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Chan Ka Nin (b. 1949)
Composer

Chan Ka Ninisa
distinguished Canadian
composer whose extensive
repertoire draws on both
East and West in its
aestnetic outlook. Professor of
Theory and Composition at the
University of Toronto, he has
written in most musical genres
and received many national and
international prizes, including two
JUNO awards, the Jean A.
Chalmers Award, the Bela Bartok
International Composers’
Competition in Hungary, and the
Barlow International Competition
in the United States. In 2001 he
won the Dora Mavor Moore Award
for Outstanding Musical for his
opera Iron Road, written with
librettist Mark Brownell, depicting
the 19th-century construction of
the Canadian national railroad by
Chinese migrant laborers.

SAIHdVaSOolg

Characteristically luminous in
texture and exotic in instrumental
colors, Prof. Chan's music has
been described by critics as
"sensuous,' "haunting,' and
"intricate." The composer often
draws his inspiration directly from
his personal experiences: for
example, the birth of one of his
daughters, the death of his father,
his spiritual quests, or his
connection to nature and concern
for the environment.

Many prominent ensembles and
soloists have performed his
music, including the Toronto
Symphony, National Arts Centre
Orchestra, Hong Kong
Philharmonic, Calgary

Philharmonic, Esprit Orchestra,
Manitoba Chamber Orchestra,
Amici Ensemble, Gryphon Trio,
Miro Quartet, Purcell Quartet,
Amherst Saxophone Quartet,
violist Rivka Golani, and cellist
Shauna Rolston. His substantial
discography includes releases on
the CBC, Centrediscs, ATMA,
Analekta, Albany, and Summit
labels, among others.

Born and raised in Hong Kong,
Mr. Chan holds twin
undergraduate degrees in
electrical engineering and music
from the University of British
Columbia, where he studied
composition with Jean Coulthard.
He subsequently received Master
of Music and Doctor of Music
degrees from Indiana University,
where he studied with Bernhard
Heiden.

José Evangelista (b.1943)
Composer
Jose Evangelista pursues an

artistic path by which he has
explored ways of making a music
based exclusively on melody.
Hence he has developed a
heterophonic writing, both for
instruments and orchestra, in
which the melodic line generates
echoes of itself and creates an
illusion of polyphony. His music
draws its roots from an enlarged
vision of tradition: to his Spanish
origins he has added the influence
of the Indonesian gamelan, the
Western avant-garde and that of
modal musics. Evangelista was
born in Valencia (Spain) in 1943.
He began his musical studies with

Vicente Asencio while
simultaneously studying physics.
Later work in computers led him to
Canada. Settling in Montreal in
1970, he studied composition with
André Prévost and Bruce Mather.
Since 1979 he is a professor at
the University of Montreal where
he created the Balinese Gamelan
Workshop in 1987. He has been a
founding member of several
concert societies, has received
several awards and numerous
commissions, among others, from
Itinéraire (Paris), the Kronos
Quartet, the Groupe vocal de
France, the SMCQ and the CBC.
His works have been performed in
Canada, the U.S., Europe, Asia
and Australia by groups such as
Ensemble Modern (Frankfurt), the
Nieuw Ensemble (Amsterdam),
Music Projects (London), the
Orchestre philharmonique de
Radio-France, the Montreal
Symphony Orchestra, | Musici de
Montreal, and the Nouvel
Ensemble Moderne (Montreal).
Between 1993 and 1995 he has
been composer in residence with
the Montreal Symphony
Orchestra. He is presently
composing an opera for the
Montreal company Chants libres.

Lou Harrison (1917 — 2003)
Composer

Born in Portland in 1917, the
American composer Lou Harrison
won a particular reputation for his
percussion music, his experiments
in intonation, and his synthesis of
East and West in his music. A
pupil and friend of Henry Cowell,
whose interest in other musical
traditions he shared, he also
profited from a close study of the
work of Charles Ives. Lou

Harrison collaborated with John
Cage in San Francisco, studied
under Schoenberg in Los
Angeles, wrote under Virgil
Thomson in New York, continuing
a varied career and the
development of his many gifts as
a poet, artist and musician.

Many of Harrison's early works
are for percussion instruments,
often made out of what would
usually be regarded as junk or
found objects such as garbage
cans and steel brake drums. He
also wrote a number of pieces
using Schoenberg's twelve tone
techniques, including the opera
Rapunzel and his Symphony on G
(Symphony No. 1) (1952). Several
works feature the tack piano, a
kind of prepared piano with small
nails inserted into the hammers to
give the instrument a more
percussive sound. Harrison's
mature musical style is based on
“melodicles", short motifs which
are turned backwards and
upsidedown to create a musical
mode the piece is based on.

André Ristic (b.1972)
Composer

Born in 1972, André Ristic studied
mathematics at the Universite du
Québec in Montréal (UQAM) and
completed his musical studies at
the conservatory in Montreal
where he received instruction in
composition and piano. As a
music theorist his interests include
the mathematical representation
of sound and programming
models, as well as the musical
applications of signal theory and
the analytical study of musical
manuscripts. His awards include a
number of prizes and grants,

including the Prix Opus awarded
by the Conseil quebécois de la
musique for “Composer of the
Year” in 2001, and the SOCAN
award for chamber music in the
same year, as well as the Jules-
Leger Prize for new chamber
music in 2000.

In his spare time, this composer
also performs as a pianist (Trio
Fibonacci) and accordion player.
An active and eclectic musician,
he has commissioned and
premiered a number of works from
both Canadian and international
composers, especially those of his
own generation. As part of his
own compositional process, Ristic
seeks out ways of representing
sound numerically, with the aim of
developing new techniques based
mainly on vector geometry. With
respect to this subject, he has a
publication project underway in
partnership with Jonathan
Goldman that is devoted to
relationship of mathematics to
music. Andre Ristic has an
international career and a number
of recordings to his credit.

Claude Vivier (1948 — 1983)
Composer

Many consider Claude Vivier the
greatest composer Canada has
yet produced. At the age of 34, he
was the victim of a shocking
murder, leaving behind some 49
compositions in a wide range of
genres, including opera,
orchestral works, and chamber
pieces. Gydrgy Ligeti once called
Vivier "the finest French composer
of his generation."

Born in Montreal of unknown
parents, Vivier was adopted at the
age of three. After being expelled
from a seminary at sixteen for
"immature behavior"—from an
early age, Vivier was open about
his homosexuality—he studied at
the Conservatoire de Musique in
Montreal. In 1971, Vivier left
Canada for Europe, studying
electroacoustic music in Utrecht,
and composition with Karlheinz
Stockhausen in Cologne.
Although Vivier was influenced by
the latter, he nonetheless
developed a highly personal
language. Chants, composed
during this period, represented for
him "the first moment of my
existence as a composer."

In the fall of 1976, Vivier took a
long trip through Asia. A visit to
Bali caused him to reevaluate his
ideas concerning the role of the
artist in society, initiating a new
period in his stylistic evolution. In
the wake of this journey he

wrote Shiraz (1977) for

piano, Orion (1979) for orchestra,
and his opera Kopernikus (1978-
79). Above all, it was in his cycle
of pieces for voice and
instrumental ensemble,
particularly Lonely Child (1980)
and Prologue pour un Marco
Polo (1981) that Vivier's unique
style crystallized.

Vivier spent the last months of his
life in Paris. On March 12, 1983,
Vivier was found stabbed to death
in his apartment. His murderer, a
19-year-old man who may have
been a prospective lover, was
later caught and sentenced.

Vivier advocates include Mauricio
Kagel, Kent Nagano, Reinbert de
Leeuw, David Robertson, and
Dawn Upshaw. Vivier's music
featured prominently in Holland
Festival 2005, and the St. Louis
Symphony Orchestra opened its
2005-06 season with Lonely
Child, with David Robertson
conducting and Dawn Upshaw as
the soprano soloist. In 2005, the
Montreal Symphony Orchestra
inaugurated the Claude Vivier
National Prize for the best work by
a Canadian composer.

Reprinted by kind permission of
Boosey & Hawkes

Scott Good (b. 1972)
Composer

Scott Good is a composer of
orchestra, chamber and vocal
works. His compositions have
been successfully performed
throughout North America. He is
also active as a bass trombonist.

scott Good has studied at the
Eastman School of Music and the
University of Toronto. He has
received numerous awards for his
music, including the Howard
Hanson Prize, the First Prize at
the Winnipeg New Music Festival
Composers Competition, the John
Weinzweig Prize and two prizes in
the SOCAN Competition for
Young Composers.

Mr. Good is a founding member of
the Trillium Brass Quintet and a
co-founder of earshot! music
series. He has also had the
privilege to work with Patria Music
Projects, participating in the

premiere of Murray Schafer's The
Palace of the Cinnabar Phoenix
and participating in performances
of the Enchanted Forest.

Scott maintains an active career
as an orchestral trombonist,
having performed with the
Thunder Bay Symphony
Orchestra, Toronto Philharmonic,
Esprit Orchestra, and Kitchener
Waterloo Symphony, among
others.

As a composer, Scott has written
for a variety of ensembles as well
as soloists. As a trombonist, he
may be heard on commercial
recordings by the Trillium Brass
Quintet, which has been
broadcast many times on CBC
Radio.

THANK YOU

The Esprit Orchestra gratefully acknowledges our individual donors

Alice Adelkind
Robert & Marion Aitken
David Archer
Richard Archbold
Shanley Arnett
Stephen Atkinson
John Beckwith
Estera Bekier
Margery Ann Bell
Eloise Bellemont
Daniel Blackman
John Brotman

John Burge

Diana Carradine
John Carter

Susan Carter-Smith
Michelle Chisholm
Sheila Clark

Austin and Beverly
Clarkson

Helene Clarkson and
Andrew Livingston
Adrienne Clarkson
Kyra Clarkson
Stephen Clarkson
Brian Current
Maureen Davey
Carol Ann Davidson
George & Leslie Denier
Wilf & Brenda Dinnick
Janusz Dukszta
Barbara Fallon

Paul Frehner

Julia Gardiner

Anita Genua

Marina Geringas
Erica Goodman
Melissa Gordon
Catherine Graham
Patrick Graham
Leigh Gravenor
Beverly Harris
Charles Hazell & Jill
Taylor

Nona M. Heaslip
Charles Heller

Ruth and Michael Hood

Peter Hunt

Linda and Michael
Hutcheon

Brian Imrie

Linda Intaschi and David
P. Silcox

Consuelo Jackman
Victoria Jackman
Mimi Joh

Joyce Kaplan

Ellen Karp

John Kelly

Krista Kerr

Kathy Kossow
Elizabeth Kriegler
Mayumi Kumagai
Welly Kurniawan
Natalie Kuzmich
Elizabeth Lambert
Garth Lawrence

John B. Lawson, Q.C.
Michael A. Levine
Marilyn Lightstone
Lucia Liscio

Christine Little-Ardagh
John Loh

Wailan Low

Karen Louie and Robert
Beveridge

John and Carol
MacFarlane

Josie Marrano

Jan V. Matejcek

Judy and Wilmot
Matthews

Nancy & John McFadyen
Tracey McGillivray
Paul Mingay

Roger D. Moore

Julie Moos

Robert Morasutti
Mary Morrison

John H. Munro

Ellen Nichols

Phillip Nimmons
David J. Novak

Alex Pauk

Jenny Pauk

Gary Pattison
Donald Pelletier
Chantal Perrot

Tim & Frances Price
Anita Provaznik
David Pyper
Margaret Riley

Jeff Rintoul and Marie
Beth Currie

Barbara Ritchie
John Rea

Brian Roberston
Kathleen Roulston
Paul Saltzman
Rebecca Scovel

David Sherr

Skippy and Lynn Sigel
Bradley Smith

Stephen and Jane Smith
Jeffrey and Tomiko Smyth
John Stanley and Helmut —
Reichenbacher

Audrey Stefanovich
John and Barbara
Sutherland

Ray Taylor

Alan Teder

Barbara Thompson
S. Phillip & Maureen
Tingley

Joanne Tod

Alan Toff

Alan Torok

George Ullmann
Nicola von Schroeter
David B. Waterhouse
Mary Wellner

William and Marilyn
Weinstein

Stan and Rosalind Witkin

one anonymous donor

* The Esprit administration
endeavors to make this list as
accurate as possible. Please
contact the Esprit office if you see
a discrepancy, error or omission

the

greatest music
you havent heard
vet

«20 St. Joseph Street —
Toronto, Ontario M4Y¥Y 1J9 ——3-——
416.961.6601 | : 3 | .
www.musiccentre.ca : : |
info@musiccentre.ca CANADIAN MUSIC CENTRE

Canad “@CMCNational CENTRE DE MUSIQUE CANADIENNE

The Esprit Orchestra gratefully acknowledges the following
supporters that have made Esprit’s 2013-14 season possible.

ee Canada Council Conseil des Arts
<> for the Arts du Canada FONDATION -

FOUNDATION

ONTARIO ARTS COUNCIL "B=
_ CONSEIL DES ARTS DEL’ ON 10

32 TESRS OF ONTARIO GOVERNMENT SUFFORT OF THE BRATS cS
SO SNS DE SOUTIEK DL GOUVERNEMENT DE L'

CREATZVE TRUST

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COUNCIL

SEASON SPONSOR

BMO ©) Financial Group

FOUNDATIONS

The Hal Jackman Foundation, The Koerner Foundation,

The Mary-Margaret Webb Foundation, The Max Clarkson Family
Foundation, The Henry White Kinnear Foundation, The William and
Nona Heaslip Foundation, The Sharp Foundation.

MAJOR INDIVIDUAL SUPPORTERS

Rosalie and Isadore Sharp, Nona Heaslip, John B. Lawson, Judy and
Wilmot Matthews, Roger D. Moore, David J. Novak, Chantal Perrot,
David Pyper, David Sherr, Taylor Hazell Architects, Nicola von Schroeter
and one anonymous donor.

SPECIAL THANKS TO
HOBE+ HOSOKAWA INC.

YHUR DRANG: CORCEST, CREATION, ARG BEYOND

for producing and donating promotional videos

David Jaeger
for volunteering his services as recording engineer and advisor

George Stimpson
for providing his services in support of Esprit’s May 2013 fundraiser

ESPRIT ORCHESTRA

BOARD OF DIRECTORS

Helene Clarkson, President — Neat

Nicola von Schroeter, Secretary — Nvons Consulting Limited
Dan Zbachnik, Treasurer — ZF Management Inc.

Alexina Louie — Composer

Mary Wellner — Wellner Capital Advisors Ltd.

John Kelly — Youth Climate Report

Susan Carter Smith — SCS Consulting

Alex Pauk — Ex-officio

STAFF

ARTISTIC
Alex Pauk — Music Director & Conductor

ADMINISTRATIVE

Elena Koneva — Operations Manager

Francine Labelle — Public Relations, flINK

Christine Little - Personnel Manager and Music Librarian
Chris Mustard — Bookkeeper

VOLUNTEERS

Annabel Hoyt, patron communications
Jasmine Pauk, social media

Joannie Ing, patron services

Dikran Arbelian, intern

CONTACT

www.espritorchestra.com

174 Spadina Avenue, Suite 511, Toronto, ON M5T 2C2
416.815.7887

info@espritorchestra.com

FOLLOW US ON FACEBOOK AND TWITTER

: Esprit Orchestra gratefully
acknowledges the following for their support

Season Sponsor

BMO € Financial Group

TORONTO

Ee Canada Council Conseil des Arts A ONTARIO ARTS COUNCIL ARTS
Gls

for the Arts du Canada CONSEIL DES ARTS DE L'ONTARIO COUNCIL

FONDATION

SOCAN: tomer if fondation

FOUNDATION

The Koerner Foundation — The Mary-Margaret Webb
Foundation — The Hal Jackman Foundation — The Max Clarkson
Family Foundation — M.E.H. Foundation — The Henry White
Kinner Foundation — J.P. Bickell Foundation — The McLean
Foundation — The Sharp Foundation — The William and Nona
Heaslip Foundation — The BLG Foundation

Upcoming Concert |
Sunday, January 26, 2014

Strange Matter

Samy Moussa — New Work (Esprit Commission & World Premiere)
Peter Ruzicka — Satyagraha (version for small orchestra)

Zosha Di Castri — Strange Matter for ensemble

Gabriel Prokofiev — Cello Concerto (3rd movement)

Unsuk Chin — Graffiti |

Bryan Cheng cello; Samy Moussa guest conductor;

Gabriel Prokofiev guest composer

8:00pm Concert; Tickets on sale now:
7:15pm Pre-concert talk — 416.408.0206 or
Koerner Hall in performance.rcmusic.ca
the TELUS Centre at the

Royal Conservatory espritorchestra.com